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Relevant bibliographies by topics / Lyrisches Intermezzo

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Academic literature on the topic 'Lyrisches Intermezzo'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Lyrisches Intermezzo"

1

Weaver, Andrew H. "Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe." Journal of the Royal Musical Association 142, no. 1 (2017): 31–67. http://dx.doi.org/10.1080/02690403.2017.1286123.

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ABSTRACTThe question of what happens when a composer alters a poet's poetic cycle haunts examinations of many song cycles and has proven especially problematic for Robert Schumann's Dichterliebe. The long-held view that Schumann crafted a clear plot from Heine's non-narrative Lyrisches Intermezzo has recently been questioned in favour of a view of the cycle as an incoherent fragment. Using the tools of narratology, this article argues that Dichterliebe is both a fragment and a coherent whole, a string of memories held together by a distinct narrative logic. Identifying two poetic voices illuminates the cycle's narrative strategy and also sheds light on problematic aspects of the music, including Schumann's deletion of four songs, the voice–piano relationship and the enigmatic final postlude. This article proposes answers to age-old questions about Dichterliebe while also offering a fresh approach to the study of song cycles.

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2

Devine, Luke. "“I Sleep, but My Heart Waketh”: Contiguity between Heinrich Heine's Imago of the Shulamite and Amy Levy's “Borderland”." AJS Review 40, no. 2 (November 2016): 219–40. http://dx.doi.org/10.1017/s0364009416000398.

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“Borderland,” by Amy Levy (1861–89), a refiguring of the Song of Songs’ traditional allegory, reverses Song 5:2–6's climax in which the Shulamite unwittingly neglects the advances of her “beloved” while he waits at the door. In “Borderland,” the Shulamite “lover” assumes the initiative by visiting her “beloved,” while he is instead passive. The diverse ways in which “Borderland” can be read reveal contiguity with “Das Hohelied” and “Lyrisches Intermezzo” by German Jewish poet Heinrich Heine (1797–1856), texts also dependent on the Songs of Songs. Indeed, Heine was Levy's “favourite poet”; “Borderland” accordingly reflects her reading of Heine and the employment of similar poetics, though not necessarily continuity or unoriginality. This article therefore looks for what Dan Miron has labelled “literary contiguity,” a process by which “tangible contacts” between “players” in the “modern Jewish literary complex” are identified. This approach identifies “relatedness” between Heine and Levy, but also acknowledges the “differences.”

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Dissertations / Theses on the topic "Lyrisches Intermezzo"

1

Smykowski, Adam. "Heinrich Heines Lyrisches Intermezzo in Vertonungen von Robert Schumann und Robert Franz /." Frankfurt am Main ; Bern ; Paris : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb388348041.

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2

"A Textual and Musical Commentary on J. Guy Ropartz’s Quatre Poèmes après l’Intermezzo d’Henri Heine (1899)." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53808.

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abstract: Heinrich Heine’s collection of poems, Lyrisches Intermezzo, is well-known in music circles, largely due to Robert Schumann’s settings of sixteen of these poems in his masterwork Dichterliebe. Because of Dichterliebe’s place of importance in art song literature, many other settings of Heine’s sixty-five poems are often overlooked. Breton-born composer Joseph Guy Marie Ropartz composed Quatre Poèmes d’après l’Intermezzo d’Henri Heine in 1899, after having collaborated on a new French translation of the entire Lyrisches Intermezzo in 1890. This cycle is rarely performed, largely due to Ropartz’s relative obscurity as a composer, as the focus of his career was administration of two regional conservatories in France. The Quatre Poèmes were written fairly early in Ropartz’s life, but feature many compositional techniques that remain staples of Ropartz’s work throughout his career. It is an accessible work to many singers and audience members already familiar with Heine. The texts of the four songs are not simply translations of Heine’s original, but altered to adhere to the rules of French poetry. Examining the changes made in the text, both in language and structure, reveals information that will aid performers’ understanding of the poetry and of Ropartz’s choices in musical setting. The music of the work is greatly dependent on a single motive, an idée fixe, and considering the role of this motive in its various appearances is illuminating to the narrative arc of the cycle. This study seeks to aid potential performers and listeners of the Quatre Poèmes by expanding their understanding of the artists responsible for creating it, and by exploring the textual and musical elements that are the building blocks of this work.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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Books on the topic "Lyrisches Intermezzo"

1

Heine, Heinrich. Lyrisches intermezzo: Intermezzo lyrique. Lausanne: Centre de traduction littéraire de Lausanne, 2010.

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2

Heinrich Heines Lyrisches Intermezzo in Vertonungen von Robert Schumann und Robert Franz. Frankfurt am Main: Peter Lang, 2002.

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3

Bose, Hans-Jürgen von. Die Leiden des jungen Werthers: Lyrische Szenen in zwei Teilen und einem Intermezzo nach Johann Wolfgang von Goethe (1983/84). Mainz: Schott, 1986.

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Book chapters on the topic "Lyrisches Intermezzo"

1

Jokl, Johann. "„Lyrisches Intermezzo“: Das Bewußtsein von der Möglichkeit der Täuschung und die komische Auflösung des Romantischen." In Von der Unmöglichkeit romantischer Liebe, 121–62. Wiesbaden: VS Verlag für Sozialwissenschaften, 1991. http://dx.doi.org/10.1007/978-3-663-01685-4_5.

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2

Perrey, Beate. "Rationalisierung von Sinnlichkeit in Heines »Lyrischem Intermezzo«." In Aufklärung und Skepsis, 846–57. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03751-0_58.

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3

Schnitzler, Günter. "Zyklische Prinzipien in Dichtung und Musik am Beispiel von Heines »Lyrischem Intermezzo« und Schumanns »Dichterliebe«." In Übergänge. Zwischen Künsten und Kulturen, 321–36. Stuttgart: J.B. Metzler, 2007. http://dx.doi.org/10.1007/978-3-476-05263-6_23.

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